6 on fabric; plus an edition of 25 on paper with 7 A.P., 5 P.P., 2 H.C., 1 B.A.T.
There are 3 known variant impressions of state XIII, outside the two editions.
The 4 impressions of varying states labeled "HC" in red ink, in the artist's hand, are not conventional H.C. impressions, which would be of the final state.
There are variations in the fabrics used in this edition, as is commonly found in the old fabrics Bourgeois chose to use as printing surfaces. Two varying examples are reproduced in the Evolving Composition Diagram below.
The fabric edition is printed in black ink and the paper edition is printed in red ink.
State Changes and Additions:
Changes from state XII in drypoint: figure's body reinforced, and figure's hair further delineated vertically and below.
This impression has slight staining or scorching.
The plate dimensions of this impression could not be documented because this work is not in MoMA's collection and could not be examined in person. The dimensions given are from another impression.
According to Louise Bourgeois’s assistant, Jerry Gorovoy, the bell jar-like form in “Hair” was not done in conjunction with Bourgeois’s monumental sculptural installation for Tate Modern’s Turbine Hall, in 2000. In that installation, each of three huge steel towers included, within it, a small sculpture depicting a mother and child inside a bell jar. Bourgeois’s print “Do Not Abandon Me,” with similar imagery and seen here in Related Works in the Catalogue, does have a direct relationship to the Tate installation.
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